II. The Stanze di Venere at Baia

Archaeologia ◽  
1979 ◽  
Vol 106 ◽  
pp. 33-60
Author(s):  
Roger Ling
Keyword(s):  
Eighteenth Century ◽  
Subject Matter ◽  
The Other ◽  
Interior Decoration ◽  
The Third ◽  
Imperial Palace ◽  
Close Study ◽  
Early Eighteenth Century ◽  
Formed Part ◽  
Eighteenth And Nineteenth Centuries

Among the remnants of interior decoration in the Roman Imperial palace at Baia are the stuccoed vaults of three rooms, the so-called ‘Stanze di Venere’, which attracted the attention of innumerable travellers and antiquaries during the eighteenth and nineteenth centuries. The first and second rooms, respectively pavilion-vaulted and barrel-vaulted, retain enough of their stucco-work to justify a close study of design and subject-matter; while even in the third room, where only a few fragments survive, some figures and ornaments can be discerned. Further information about the decorations is supplied by unpublished drawings carried out in the early eighteenth century. Dating is difficult, but stylistic evidence suggests that the stucco-work of room 1, which belongs to the original phase of the complex, dates to Augustan times. The other two decorations are later, but no later than the Flavio-Trajanic period, for then or soon afterwards new structures were built at a higher level and the three rooms were turned into cisterns. The decorative programme in both 1 and 2 is primarily Dionysiac but also embodies references to the sports of the palaestra and to bathing, themes which lend weight to the idea that the chambers formed part of a bath-suite.

The Musical Topic of the Mass in B Minor

2018 ◽  
Author(s):  
Daniel R. Melamed
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Sixteenth Century ◽  
Church Music ◽  
Sacred Music ◽  
The Other ◽  
Entire Spectrum ◽  
Giovanni Pierluigi Da Palestrina ◽  
Early Eighteenth Century

If there is a fundamental musical subject of Johann Sebastian Bach’s Mass in B Minor, a compositional problem the work explores, it is the tension between two styles cultivated in church music of Bach’s time. One style was modern and drew on up-to-date music such as the instrumental concerto and the opera aria. The other was old-fashioned and fundamentally vocal, borrowing and adapting the style of Giovanni Pierluigi da Palestrina, his sixteenth-century contemporaries, and his seventeenth-century imitators. The movements that make up Bach’s Mass can be read as exploring the entire spectrum of possibilities offered by these two styles (the modern and the antique), ranging from movements purely in one or the other to a dazzling variety of ways of combining the two. The work illustrates a fundamental opposition in early-eighteenth-century sacred music that Bach confronts and explores in the Mass.

Imitation in the Age of Literary Property

2019 ◽  
pp. 335-373
Author(s):  
Colin Burrow
Keyword(s):  
Eighteenth Century ◽  
Intellectual Property ◽  
William Wordsworth ◽  
Common Good ◽  
Paradise Lost ◽  
Private Property ◽  
The Other ◽  
Public Rights ◽  
Early Eighteenth Century ◽  
The One

This chapter shows how arguments about intellectual property in the eighteenth century changed attitudes towards imitatio, and explores the emergence of romantic poetics from earlier arguments about imitation. It begins by considering Alexander Pope’s Dunciad and its distinction between ‘parodies’ of vernacular authors on the one hand and ‘imitations’ of classical texts on the other. It then shows how John Locke’s theories of property and early eighteenth-century legislation about copyright complicated that distinction between classical and vernacular texts. Through an analysis of William Lauder’s accusations that Milton was a plagiarist it demonstrates both how the reception of Paradise Lost became central to arguments about intellectual property in the period, and also how the Lauder affair led to changes in the ways theorists wrote about imitatio. Milton came to be regarded as both a common good which could be imitated freely, and as the most authoritative example of proprietorial vernacular author. That influenced how he was in turn imitated by later vernacular writers. William Wordsworth in particular frequently associated Milton with landscapes and areas such as public rights of way, which were simultaneously common goods and private property. Wordsworth consequently transformed the ancient metaphor of the imitator following in the footsteps of an earlier author into a representation of the poet ranging freely over a land which is partly a common good, and partly what is still called a literary ‘estate’.

Pottery Manufacture in Roman Egypt: A New Papyrus

1981 ◽  
Vol 71 ◽  
pp. 87-97 ◽  
Author(s):  
Helen Cockle
Keyword(s):  
Subject Matter ◽  
Large Scale ◽  
Ancient Egypt ◽  
The Other ◽  
Third Century ◽  
Chemical Analyses ◽  
Documentary Evidence ◽  
Pottery Industry ◽  
The Third ◽  
Roman Egypt

Our knowledge of the pottery industry in ancient Egypt has so far been derived from sculptured reliefs showing potters at work, from a few excavations of kilns and from chemical analyses of pottery wares. Documentary evidence has now come to light in the form of three pottery leases from Oxyrhynchus, all dated to the middle of the third century a.d.They are so closely related in subject-matter, terminology, date and the names of the contracting parties that I publish in full only the earliest and most complete (which I shall refer to as A); but I include references to the more significant details of the other two (B and C). Their importance lies in the fact that they reveal a remarkably large scale industry, and also much concerning the techniques and terminology of the pottery industry, especially the names of the clays used and the sizes of the jars.

Native and Trade Currencies in Southern Nigeria during the Eighteenth and Nineteenth Centuries

Africa ◽  
1958 ◽  
Vol 28 (1) ◽  
pp. 43-54 ◽  
Author(s):  
G. I. Jones
Keyword(s):  
Eighteenth Century ◽  
Special Reference ◽  
Historical Data ◽  
Field Work ◽  
The Other ◽  
Economic Systems ◽  
Historical Sources ◽  
Early Nineteenth Century ◽  
Southern Nigeria ◽  
Eighteenth And Nineteenth Centuries

IntroductionIn this paper an attempt is made to combine contemporary field work with historical data in the study of certain early currency systems of Southern Nigeria with special reference to the Rivers Province.My historical sources for the period up to the eighteenth century are Pacheco Pereira, Dapper, and John and James Barbot, mainly the last three; for the early nineteenth century mainly Captains Adams and Bold, together with the other sources detailed in the bibliography. For ethnographical data I have had to rely on Talbot supplemented by my own work during the period 1927 to 1946; and during a period of more recent field work in the Rivers Province and Old Calabar in 1956 I was able to make a specific study of the traditional political and economic systems of the Oil Rivers Ports.

RIDICULE, CENSORSHIP, AND THE REGULATION OF PUBLIC SPEECH: THE CASE OF SHAFTESBURY

2016 ◽  
Vol 15 (2) ◽  
pp. 353-380
Author(s):  
ROSS CARROLL
Keyword(s):  
Eighteenth Century ◽  
Intellectual Property ◽  
Public Discourse ◽  
State Power ◽  
Corrective Action ◽  
The State ◽  
Religious Liberty ◽  
Public Speech ◽  
The Third ◽  
Early Eighteenth Century

The Third Earl of Shaftesbury has been celebrated for his commitment to free public discourse regulated only by standards of politeness, a commitment exemplified by his defence of the freedom to ridicule. This article complicates this picture by tracing Shaftesbury's response to the early eighteenth-century crisis of public speech precipitated by the demise of pre-publication censorship and growing uncertainty about intellectual property in the print trade. Shaftesbury, the article shows, was a determined opponent of pre-publication censorship through licensing, but he was also aware of the dangers posed to religious liberty by, in particular, clerical attacks on toleration, and sought ways to curb them that included corrective action by the state. When the Whigs opted to impeach the High Church cleric Henry Sacheverell, whose supporters had capitalized on an unregulated print market to disseminate his sermons ridiculing Whig principles, Shaftesbury expressed satisfaction with this use of state power to silence him. But he did not stop there. The article reads Shaftesbury's 1710Soliloquy, or Advice to an Authoragainst the backdrop of the Sacheverell controversy, and shows how the earl used it to undercut Sacheverell's claim that clerical speech enjoyed special status.

scholarly journals Newton's "Experimental Philosophy"

2004 ◽  
Vol 9 (3) ◽  
pp. 185-217 ◽  
Author(s):  
Alan Shapiro
Keyword(s):  
Eighteenth Century ◽  
Experimental Philosophy ◽  
Empirical Science ◽  
The Third ◽  
Early Eighteenth Century ◽  
Theory Of Gravity ◽  
Restoration England ◽  
Key Terms ◽  
Insight Into

AbstractNewton abjured using the term "experimental philosophy," widely used in Restoration England at the start of his career, until 1712 when he added a passage to the General Scholium of the Principia that briefly expounded his anti-hypothetical methodology. Drafts for query 23 of the second edition of the Opticks (1706) (which became query 31 in the third edition), however, show that he had intended to introduce the term to explain his methodology earlier. Newton introduced the term for polemical purposes to defend his theory of gravity against the criticisms of Cartesians and Leibnizians but, especially in the Principia, against Leibniz himself. "Experimental philosophy" has little directly to do with experiment, but rather more broadly designates empirical science. Newton's manuscripts provide insight into his use of "experimental philosophy" and the formulation of his methodology, especially such key terms as "deduce," "induction," and "phenomena," in the early eighteenth century.

Hajo Holborn'sHistory of Modern Germany

1970 ◽  
Vol 3 (1-2) ◽  
pp. 140-156
Author(s):  
Hans Kohn
Keyword(s):  
Eighteenth Century ◽  
The United States ◽  
The Other ◽  
Wilhelm Dilthey ◽  
The Third ◽  
Modern Germany ◽  
Late Eighteenth Century ◽  
History Of ◽  
Magnum Opus ◽  
The One

A few hours before his sudden death last year in Bonn, Hajo Holborn remarked that in spite of the ill health of his last years his life had been a happy one. He had an unusually successful career in his beloved profession, first as a young man in Germany, then as a leading scholar in his field in the United States; and he was able to finish his magnum opus,A History of Modern Germany, before his death. Its first volume appeared in 1959; its third and last, in 1969. As a disciple of Wilhelm Dilthey and of Friedrich Meinecke, Holborn gave special attention to the “realm of ideas,” to the religious, intellectual, and artistic achievements of Germany. While he wrote primarily political history and succeeded in ordering the mass of information which he provides into a meaningful narrative which holds the reader's interest, the high points are his discussion of the thinkers and poets from Germany's rapid cultural rise in the late eighteenth century to its decline after the mid-nineteenth century. One of the best of these subchapters is the one on Marx and Engels, a masterpiece of objectivity. It is to be found in the second volume of theHistory, though chronologically Marx and Engels belong in the third volume, which covers the period from 1840 to 1945. (After all, the two young men met and their public activity began only after 1840 and their thought and dedicated life began to exercise their impact only decades later.) By 1945, when Holborn's History ends, Marx had become the most widely known German, whose influence shaped history on a worldwide scale and to a degree surpassing by far that of the other great German with whom Holborn starts hisHistory, Martin Luther.

Opposition in late eighteenth-century Ireland: the case of the Townshend viceroyalty

1981 ◽  
Vol 22 (88) ◽  
pp. 313-330 ◽  
Author(s):  
Thomas Bartlett
Keyword(s):  
Eighteenth Century ◽  
Free Trade ◽  
The Other ◽  
Political Life ◽  
The Third ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
The Way

Political life in Ireland in the third quarter of the eighteenth century was disturbed by three major opposition campaigns. From 1753 to 1756 there was the so-called money bill dispute in which Henry Boyle (later first earl of Shannon) mounted a formidable and largely successful opposition to the designs of the Dublin Castle administration for replacing him as chief undertaker. The years 1769-71 saw a noisy but ineffective opposition to Viscount Townshend’s plans for re-modelling the way Ireland was governed. And from 1778 to 1783 there was the famous patriot opposition led by Henry Grattan and Henry Flood which won for Ireland ‘a free trade’ and the ‘constitution of ’82’ The first and last ofthese opposition campaigns have been studied in detail; but the opposition to Townshend has been comparatively neglected, perhaps because the result was so unequivocally a victory for the Castle and hence less ‘heroic’ in its outcome than the other two campaigns. This paper sets out in the first instance to correct this imbalance by examining the reasons for the failure of the Irish opposition to Townshend.

scholarly journals Beyond the Walls: Locating the Common Denominator in Herod’s Landscape Palaces

2017 ◽  
Vol 10 (3) ◽  
pp. 37-48
Author(s):  
Evie Gassner
Keyword(s):  
The Other ◽  
Short Paper ◽  
Common Denominator ◽  
Structural Units ◽  
Building Projects ◽  
Personal Involvement ◽  
The Third ◽  
Close Study ◽  
The Common ◽  
The Relationship

Abstract The Question of King Herod's personal involvement in the Building Projects attributed to him was always one of the more dominant topics in the study of Herodian archaeology. The purpose of this short paper is to try and answer this question by researching and discussing the location of a ‘common denominator’ in the structure of Herod's “Landscape” palaces, through the study of the relationship each palace has with its surroundings. These palaces-the Promontory Palace in Caesarea, the Third Palace in Jericho, the Northern Palace in Masada and the Palace of Great Herodium-were chosen as case studies for their scale, architectural complexity and the unique connection they share with the landscape. While a close study of the interior of the palaces and their structural units show that each palace plan is unique and shares almost nothing in common with the other plans, a research of the landscape in which the palaces are located indicates that a common denominator to all four palaces can be found in the forms of the elements of water and the dramatic landscape. These two elements, combined with the uniqueness of the structures themselves, point to Herod's own involvement in the planning of the four “Landscape” palaces.

Sign in / Sign up

Export Citation Format

Share Document